Strokes as a basic executive principle of the pianist-concertmaster's work with the clavier of the opera and ballet

The purpose (aim) of the article is to determine the parameters of the formation of accompanist skills and abilities from the standpoint of interpreting the orchestral sound of the clavier. The objectives of the research are to analyze in detail the timbres of various orchestral instruments / groups and, on this basis, to develop the technology for their reproduction on the piano. The principles of imitation of various orchestral groups and instruments are outlined. The system of their reproduction on the piano is generalized, which ensures the effectiveness of the ability to bring their sound closer to the sound of the orchestra and, as the next stage, the use of these skills in learning parts with soloists of the theater of opera and ballet, as well as in concert performance of opera scenes, arias, ballet numbers. The physiological techniques of hand and finger work are analyzed in detail, which form the ability to recreate the sound of a particular instrument (group of instruments) by means of a piano. Summarizing the analysis of the system of formation of accompanist skills and abilities from the standpoint of interpreting the orchestral sound of the clavier, which ensures the effectiveness of the ability to bring the sound of the piano closer to the sound of the orchestra, we define it as the main technological method in the work of a concertmaster of an opera and ballet theater. Let us outline the main provisions that are important for this study: - the subject of comprehension is the text of the score, transformed into the clavier; - performance of an opera / ballet clavier as a kind of creative interpretation of orchestral music is aimed at preserving its real sound and revealing its content by means of the piano; - the formation of the conceptual base of these skills is at the junction of understanding the sound and timbre characteristics of each instrument, and on this basis - understanding the means of its reproduction; - the achievement of the necessary dynamic effects of the orchestra sounding by textured means, the finding of adequate forms of sound pronunciation on the piano is an important component of the imitation of instrumental strokes; - reproduction of the sound of various orchestral instruments / groups on the piano, contributes to the formation of the accompanist not only technological skills, but also the emergence of the possibility of applied use in the process of artistic interpretation; - the use of such imitations is advisable, since it comprehends and realizes the composer's intention. These provisions are basic for mastering interpretive skills by the accompanist, which are formed in the following complex: - study and analysis of timbres of various orchestral groups, orchestral instruments and the possibility of developing a system for their reproduction on the piano; - revealing the role of physiological techniques of hand and finger work for imitation; - the use of a particular technique as a result of a thorough study of the individual characteristics of orchestral instruments, its range and timbre characteristics, the experience of accumulating associative analogs; - experimental formation of techniques for imitating the sound of orchestral instruments, achieved through long-term practical work. The implementation of the outlined tasks contributes to the logical substantiation of the concertmaster's intentions, which are intentionally aimed at the professional artistic interpretation of orchestral music. Accordingly, the proposed variants of imitation of orchestral instruments / groups will contribute to the embodiment of the real sound of the orchestra, help to create an idea of the content of the studied clavier of opera or ballet music, and will allow the composer's intentions to be realized.

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